Edvard Grieg, (1843- 1907)

Sonate für Klavier und Violoncello opus 36 A moll – La minuer – A minor

Allegro agitato

Andante molto tranquillo

Allegro – Allegro molto marcato 

Bohuslv Martinu(1890- 1859)

Variations sur un thème de Rossini pour Violoncelle et Piano.

Poco Allegro – Theme

Allegro moderato

Var. 1. Poco allgreo

Var. 2. Poco più allegro

Var. 3. Andante

Var. 4. Allegro. Vivo. Moderato maestoso

Bohuslv Martinu(1890- 1859)

Variations sur un thème slovaque pour Violoncelle et Piano.

Rubato – Theme. Poco andante, rubato

Var. 1. Moderato

Var. 2. Poco allegro

Var. 3. Moderato

Var. 4. Scherzo, Allegretto

Var. 5. Allegro

Recording engineer: Giulio Cesare Ricci

Direttore di produzione: Giulio Cesare Ricci

Duo Hayashi 

Toshiaki Hayashi – Violoncello

Yukako Hayashi – Piano

The Duo Hayashi was founded in 1973. In the following years the Duo won several international awards which the First Prize at the International Contest of Trapani, where it was the absolute winner, and the First Prize at the International Contest “Vittorio Gui” of Florence. Since 1974 the Duo Hayashi has given numerous concerts and has played for European and non-European radio and television networks, lately recording some chamber music concerts for RAI, first and second networks. 

Toshiaki Hayashi (violoncellist) was born in Tokyo, Japan and received his diploma at the “Toho Musik Academy” of Tokyo in 1970, obtaining the musical award. Afterwards, he studied with Georg Neikrug at the “Boston University” in the United States, completing his musical education with Pierre Fournier in Geneva, W. Pleeth in London, Andrè Navarra in Siena, Antonio Janigro in Salzburg and in chamber music with Riccardo Brengola in Roma. In 1980 he graduated from the specialization course in music at National Academy of S. Cecilia, with the highest grades and full honors. He gives numerous concerts in Italy, Japan and in foreign countries and carries an intense activity as a soloist with the national Japanese and Italian radio and television. In Italy he participated in chamber music concerts with Severino Gazzeloni, Salvatore Accardo, Bruno Giurana, Angelo Stefanato, Dino Asciolla, Riccardo Brengola, Franco Petracchi and Felix Ajo. In these years 1983 and 1984 he assisted the chamber music specialization course of M° Asciolla in Città di Castello.

Yukako Hayashi (pianist) was born in Tokyo, Japan. She completed her studies at the “Toho Musik Academy” of Tokyo graduating in 1974. Afterwards, she specialized in Europe with G. Agosti in Siena and Rome, G. Johnson in London and in chamber music with P. Fournier in Geneva, W. Phleeth in London, A. Janigro in Salzburg and R. Brengola in Roma. In 1980 she graduated with the highest honors from the chamber music specialization course at the National Academy of S. Cecilia. Since then she has carried on an intense activity as a concert musician, giving recitals in several cities of Japan and making recording for national Japanese and Italian radio and television. Since 1982 she has been a piano assistant in the specialization course for flute and violin in Città di Castello (M° Klemm, M° Persichilli and M° Romano).

The record coverts two musical centuries, the nineteenth and the twentieth, presenting two composers who epitomised European music of that period: Edvard Grieg and Bohuslav Martinu. These two figures shared common ground in that lived through the final stages of German romanticism and used its influence in their own works. The Sonata for piano and cello, Op. 36 in A minore is by Grieg, a Norwegian musician who was in touch with the innovations which were current particularly in Austria with its legendary Viennese School. Grieg studied in Leipzig and was influenced by German music culture, even if he remained tied to traditional Norwegian romanticism. In his works he tried to avoid the adoption of popular themes from his own country, and for this reason he devised new transparent styles and orchestrations which adhere to the realities of the Norwegian “fin de siècle”. However, in spite of critical epithets and analysis, Grieg became a reference point in musical discussion in the nineteenth and twentieth century. He carefully avoided the larger symphonic forms, preferring to work at refining the medium of chamber music, which he found more fulfilling. His experience of his Nordic origin was idiosyncratic, enriched by subtle romanticism which presented an alternative to eighteenth century music. In the Sonata Op. 36, written between 1882-83, we find Grieg’s world, grandiose and already mature. The dualism between cello and piano Is highly effective, as the thematic search for particular colours and sonorities is reminiscent of the paintings of Renoir. The minor mode was one of Grieg’s favourites, and it is ideal vehicle for capturing the suffused images of his country. The most important factor which dominates the piece is the continual use of melodic snatches. Especially in the central section, this idea becomes increasingly articulated, suggesting links with a schumannesque world. The work is expansive in style and accomplished from a formal point of view, in that it achieves a break from conventional musical quartet style which is commonly considered to be a prerogative of Grieg’s. finally, the discerning contribution of the two instruments is proof of the great musicality of composer who has created a work of high quality. In spite of epithets and styles, Bohuslav Martinu continues to be an important reference point in nineteenth and twentieth centuries European music, and the Variations on a theme of Rossini traverse the stage of a musical past whose protagonist is the immortal Rossini. The Bohemian composer’s choice in writing the two variations on a Rossini theme emphasize his love of Italian musical repertoire of the eighteenth and the nineteenth centuries. The musician from Pesaro is ideally adaptable to Martinu’s philosophy, and the latter was able to extract the essential of Rossini’s style, gleaning the elements of irony and sadness which underlie each of his compositions. The resulting music is very interesting: we find a infusion of Martinu’s Slavic culture and the Mediterranean culture of Rossini, in this case combining new and original features. Thus, the melodic flavour, so pointedly Italian in mode, is enhanced by sophisticated and balanced harmony which colours the piece with ironic and folkloristic imagery. It is in this synthesis that the importance of the composition lies, for, while remaining faithful to Rossini’s themes, Martinu with a subtlety that does himself honour, shapes, stitches and builds “cell-like” themes from his own land. In Martinu’s Variation on a Slovakian theme, German romanticism is once again the scene, and in fact the composer, having become familiar with Parisian musical trends between the Wars, found his own style which was based on the use of folkloristic motifs representing the reality of his country. A lover Mozart and of the classical world in general, Martinu used as a reference point a link between Bohemiaand snatches of atonality and polytonality. It was this device that was responsible for hi reputation as a musician. An impressionist of remarkable taste and fond of jazz and dance rhythms he insinuated these into a world which was open to innovation and new cultural achievements. Numerous stylistic features are be found in his music, which however, lacks the neoclassicism of Stravinsky. This is strange considering that he was receptive to every kind of external influence. All these elements are present in this piece, and we even catch a glimpse of a Bohemian world, rich in tradition and virtuosity and which is realized in an intense dialogue between the two instruments, each valid in its own right. The melodic line is very intense and exceptionally lyrical, and the instrumental parts alternate between moments of charme and solemn and profound introspection. Martinu treats the cello in a classical way, playing with the bass register, and he arrives at a peak of bubbling virtuosity, without ever loosing touch with the imaginary central cord of the musical concept.

Adriano Bassi

English translation: Nicola Swallow